Doogie Kamealoha, MD

More Than 60 Fall 2021 Television and Streaming Series Created with Blackmagic Design

Blackmagic Design today announced that more than 60 of the fall 2021 season’s television shows and streaming series, such as “Insecure,” “Scenes from a Marriage” and “American Horror Story: Double Feature,” were created with its digital film cameras, DaVinci Resolve Studio editing, grading, visual effects (VFX) and audio post production software, and more.

This season’s new and returning hit shows include “Ghosts,” which used URSA Mini Pro 12K and Pocket Cinema Camera 4Ks in the pilot; “Station 19,” which powered its virtual production workflow with Blackmagic Design; and series such as “Succession,” “The Simpsons” and “Billions®” which were graded with DaVinci Resolve Studio. Additionally, with many productions navigating remote production, ATEM Mini Pro live production switchers helped filmmakers, such as the VFX team for “Doogie Kamealoha, M.D.,” connect remotely.

“Every year, the bar continues to rise for the cinematic quality and creativity that viewers want from their favorite series. This year’s shows were challenged to meet those mounting expectations, while also dealing with unprecedented new challenges of creating these shows safely,” said VFX Supervisor and Cofounder of Muse VFX Fred Pienkos. “Now more than ever, having reliable tools that allow us to be flexible and stay focused on the creative is paramount, which is why we continue to turn to Blackmagic Design.”

Some of the fall 2021 series that used Blackmagic Design cameras include:

  • “Blue Bloods” VFX Supervisor Mike Warren of Filmworks/FX NY used Blackmagic Production Camera 4Ks for VFX shots;
  • “The Equalizer” DP Stefan Czapsky used Pocket Cinema Camera 4K for insert shots;
  • “Ghosts” DP Judd Overton used URSA Mini Pro 12K and Pocket Cinema Camera 4K for select shots on the pilot episode;
  • “Nancy Drew” DP Shamus Whiting-Hewlett used Pocket Cinema Camera 6K Pros for select shots;
  • “NCIS” and “The Neighborhood” VFX Supervisors John Gross and Fred Pienkos of Muse VFX used URSA Mini Pro 12K to shoot VFX plates and elements;
  • “Puppy Place” DP Steve Gainer, ASC ASK used URSA Mini Pro 12K; and
  • “Succession” VFX Supervisor Aaron Raff of Phosphene used Pocket Cinema Camera 6K to shoot VFX plates and elements.

“The URSA Mini Pro 12K and Pocket Cinema Camera 4K made it possible to shoot a tricky stunt scene on the pilot of ‘Ghosts,’” said DP Judd Overton. “We needed to rig cameras in impossible spots that our A camera just couldn’t fit in. The compact size and high quality of the Blackmagic Design cameras meant we could keep up our quality while getting even better coverage. We wouldn’t have made our day without them.”

Some of the fall 2021 series that used Blackmagic Design for VFX and virtual production include:

  • “9-1-1” VFX Supervisor Bert Poole of SpinVFX used DaVinci Resolve Studio within the VFX pipeline;
  • “American Rust” VFX Supervisors Greg Radcliffe and Christian Lowe of Phosphene used DaVinci Resolve Studio within the VFX pipeline;
  • “Blue Bloods” VFX Supervisor Mike Warren of Filmworks/FX NY used DaVinci Resolve Studio within the VFX pipeline, as well as Intensity Shuttle for playback;
  • “Doogie Kamealoha, M.D.” VFX Artist Mike Gaines of InvisEffects used DaVinci Resolve Studio within the VFX pipeline, as well as an ATEM Mini Pro to collaborate remotely with production;
  • “Insecure,” “Liza on Demand,” “NCIS,” “NCIS: Los Angeles,” “The Neighborhood,” “One of Us Is Lying,” “Queens” and “Y: The Last Man” VFX Supervisors John Gross and Fred Pienkos of Muse VFX used Fusion Studio for compositing, as well as DaVinci Resolve Studio for VFX editorial on select shows; and
  • “Station 19” VFX Supervisor Sam Nicholson of Stargate Studios used DaVinci Resolve Studio, DaVinci Resolve Micro Panels, UltraStudio and DeckLink capture and playback technology and more for virtual production.

“Shows like ‘Station 19’ are using innovative virtual production techniques to bring VFX front and center during production,” said Stargate Studios Founder and CEO Sam Nicholson, ASC. “Using our real time virtual production system ThruView, we create driving plates for the show’s emergency vehicle sequences, as Seattle’s firefighters rush around the city answering calls for help. Our workflow is built around Blackmagic Design, using everything from DaVinci Resolve Studio to DeckLinks for playback.”

Some of the fall 2021 series that used DaVinci Resolve Studio for post production include:

  • “All American” and “Batwoman” graded by Matt Lear of Mad Old Nut Productions;
  • “American Horror Story: Double Feature” and “Truth Be Told” graded by Jeremy Sawyer of Light Iron;
  • “B Positive” and “Bob Hearts Abishola” graded by Sparkle of Picture Shop;
  • “The Big Leap” and “South Side” graded by Aidan Stanford of Arsenal;
  • “Big Sky” (ep. 114, 115, 116) and “The Cleaning Lady” (pilot) graded by Paul Allia of Picture Shop;
  • “Billions®” graded by Joe Gawler of HARBOR;
  • “Doogie Kamealoha, M.D.” graded by Frederik Bokkenheuser of Picture Shop;
  • “Fear the Walking Dead,” “The Walking Dead” and “The Walking Dead: World Beyond” graded by Chris Boyer of Picture Shop;
  • “The Game,” “The Girl in the Woods,” “The Next Thing You Eat” and “Sacrifice” graded by Scott Klein of Light Iron;
  • “The Good Doctor” and “New Amsterdam” graded by Larry Field of Arsenal;
  • “Gossip Girl,” “Scenes from a Marriage,” “Station Eleven” and “Succession” graded by Sam Daley of Light Iron;
  • “Home Economics” graded by Shaley Brooks of Iris Digital Post, with Dolby Vision mastering completed by Thomas Galyon, CSI of DigitalFilm Tree;
  • “Insiders” and “Money Heist” graded by Fernando M. Cos-Gayón, David González and Pepe Abellán of PICNIC;
  • “The L Word®: Generation Q” graded by Nicholas Hasson of Light Iron;
  • “Legacies” and “Roswell, New Mexico” graded by Charlie Tucker of Point.360;
  • “A Million Little Things” and “Ordinary Joe” graded by Russell Lynch of ColorTime;
  • “Mr. Corman” graded by Phil Beckner of FotoKem;
  • “Murdoch Mysteries” and “Slasher: Flesh and Blood” graded by Michael Dobroski of Picture Shop;
  • “NCIS” graded by George Delaney of Picture Shop;
  • “NCIS: Los Angeles” graded by Thomas Galyon of DigitalFilm Tree;
  • “NYC Epicenters 9/11 -> 2021 ½” graded by Roman Hankewycz of HARBOR;
  • “Only Murders in the Building” graded by Nat Jencks of PostWorks New York;
  • “Our Kind of People” graded by Aurora Gordon of Arsenal;
  • “Penn and Teller: Fool Us” graded by Jeff Jacobson;
  • “Queens” and “Station 19” graded by Roy Vasich of Picture Shop;
  • “The Simpsons” graded by Jason Fabbro of Picture Shop;
  • “Tough As Nails” graded by Crash Carlucci of Baked Studios;
  • “Walker” graded by Tony D’Amore of Picture Shop; and
  • “Yellowjackets” graded by Patrick Woodard of Point.360.

“As post production was forced to adapt with the outbreak of Covid, I am grateful to be working on such a versatile and widely implemented platform as DaVinci Resolve Studio,” said Sam Daley, Senior Colorist at Light Iron. “Working between home and facility and even collaborating with other post houses, DaVinci Resolve Studio allowed for seamless continuity. And with increasing demand for HDR deliverables, the new color management in version 17 provided accurate translation without compromising the creative intent established in the SDR grade.”

Some of the fall 2021 series that used Blackmagic Design for production include:

  • “Bull” DIT Keith Putnam used Smart Videohub 20×20 router, UltraStudio HD Mini capture and playback device, DaVinci Resolve and Mini Converters SDI Distribution;
  • “Dopesick” DIT Daniele Colombera used SmartScope Duo monitor, Smart Videohub, DaVinci Resolve, UltraStudio Mini Monitor, a variety of DeckLink capture and playback cards and Mini Converters;
  • “The Goldbergs” DIT Kevin Mills used Smart Videohub 16×16, Smart Videohub CleanSwitch 12×12, SmartView Duo monitor, DaVinci Resolve, Mini Converter SDI Distribution, DeckLink Mini Monitor and DeckLink Mini Recorder;
  • “Nancy Drew” DIT Michael Sangalang used Smart Videohub 12×12, UltraStudio 4K, DaVinci Resolve, MultiView 4 monitor, Mini Converter SDI Distribution and Mini Converter HDMI to SDI;
  • “Riverdale” DIT Elmer Ventura used DaVinci Resolve, Smart Videohub 20×20, Smart Videohub 12×12, Mini Converter SDI Distribution 4K, Micro Converter BiDirectional SDI/HDMI, UltraStudio Monitor 3G and SmartScope Duo 4K; and
  • “Slasher: Flesh and Blood” DIT Mehran Jabbari used DaVinci Resolve to review and apply LUTs for dailies.

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